Forum Replies Created
-
Posts
-
I’m sorry, but just want to clarify, you are charging $100 and likely more for the guys who are doing these orchestral pieces which may take a week or so to complete? I’m relatively new to pitching to libraries, although, again, I’ve been a musician for years. Still recommending $100 a track? To date I have about 20 tracks or so I’m pitching, and working on writing more (about 1-2 a week). Short version of my question: You would recommend that for us relative newbies as well as more experienced composers?
I appreciate that, will do.
CAn we talk more about this strategy for which goes where. right now I hammer stuff out and submit. By the time I spend several hours writing and mixing a track, I can’t tell a FOrd MAveick from a Ferrarri. I write primarily rock/ pop instrumental stuff. THis would require some time, say a month, for m to objectively decide where to put this stuff. WHich flies in the face of my usually impulsive nature :). However, if I am writing for requests I tend to favor treating those tracks as exclusive.
I do about one a week now. I work full time and play in a cover band as well. If I was composing full time I think 3 a week would be the goal. If I was not playing in a band, 2 a week is a pretty full schedule for someone with a day job. Can I add a wrinkle to this thread and ask, if people care to comment, how many cues they wrote before getting their first sale?
Don’t need to sell me on this site, I have a 200 year subscription :).
Let’s be fair, the supvervisor is one of the guys from the video mentioned. I am a car company member and thought they were extremely help in the year and 4 months I’ve been doing this. The hope now is that maybe the car company may, er, drive me to a contact I’ve not been able to make inroads to. Their forums are great and I do believe I’ve made a significant amount of progress in the year and 4 months I’ve been doing this largely in part to some very helpful members advice. But honestly I’ve had more luck , rather success due to my own persistence, getting into libraries here in one month then a year and 4 months there. They have also been helpful in my learning curve of writing for specific library requests which is a skill I’ve come a long way with in that time. If I do leave at the end of my two year membership I would not have regretted joining. On the other hand I wouldn’t exactly call that a recommendation and if it weren’t for the forums I’d quite possibly be on here ranting also. Oh and I also thought they were a good “training ground” as my goal was to submit through there, get my confidence and skill level where I wanted it, and submit to libraries on my own.
My opinion as a relative newcomer: I’m going to seriously restrict the libraries I’m in I think. Read a post elsewhere regarding differing tiers of libraries, and beginning, after submitting to several, to see my place in the grand scheme of things at the moment. Between retitling, hearing about tracks sell for differing prices on different websites, dealing with websites down for prolonged periods, hearing in some cases that my stuff is going to take “up to a year to be put in the system”, formatting different versions , but depths, etc for various libraries…..think I’ll stick with what seem to be with the smoothly run sites and libraries that aren’t so overloaded that they’ve crossed the fine line to being “overwhelmed” by the amounts of music they’re getting. Have a few that I’m happy with and think I’ll stick with those, and target select others. Thanks in large part to the research I’m able to do here and the comments from more veteran composers.
Thought I asked already but not seeing my post and was wondering who among us regularly does alts of their tracks, and of what sort ( 30, 60 secs, stingers, etc) and if this was a good regular practice to adopt for my tracks in the future. Worth doing as regular practice or no?
Wow, great thread and exactly what I was looking for. Thanks to the more experienced guys for posting specifics and clarifying a path, and to Del for starting it.
My take is that going non exclusive is because you can submit to other libraries. Some basically don’t want you submitting to certain other libraries as they price their tracks lower and don’t want you track in their library competing against the same (often times much) lower priced track in another library. No not unethical unless you are signing exclusive with one and then signing it with another under a pseudonym (illegal in fact since you signed a contract). You probably know the difference between exclusive and nonexclusive I’m sure but if not learn that one in a hurry.
Again excuse me for asking , and maybe there is no right answer, but although I’m not brand new to recording, I am a relative newcomer to library submissions, and was wondering what people’s thoughts were on submitting to royalty free sites simultaneously with other non exclusive options. Or are folks more in the habit of submitting to libraries, letting them have their run there, and then submitting to royalty free sites. I have now submitted to several and been accepted by some non exclusives (thanks to the research I’ve done on this site) and may have run the course pitching to nonexclusives. Just wondering if I should jump right in with the royalty free sites as well. FOr the record, for the libraries who got back to me, 5 accepted ( 3 who have relatively strict standards), 10 declined for various reasons, others have yet to respond.
I get the “thinking ” part….the variables involved in one library earning more then another. maybe rank by track. Otherwise, i.e. say you , for whatever reason have 3x the tracks placed in a particular library…..